For his 40th birthday Steven Spielberg’s friends made him this short film based on Citizen Kane (1941) about his life and career up to that point.
For his 40th birthday Steven Spielberg‘s friends made him this short film based on Citizen Kane (1941) about his life and career up to that point.
With a March of Time segment voiced by Dan Ackroyd, John Candy plays the reporter who is assigned the task of uncovering the famed director.
Keep a look out for previous Spielberg collaborators such as Dennis Weaver (Duel), Allen Daviau (E.T.), Robert Zemeckis and Bob Gale (1941) and Kathleen Kennedy and Frank Marshall (longtime producers).
You wonder how this stuff ends up online but I’m glad it did.
Press Play then decided to see how it sounded against other film sequences, so they staged a contest called ‘Vertigoed’ with the following rules:
Take the same Herrmann cue — “Scene D’Amour,” used in this memorable moment from Vertigo — and match it with a clip from any film. (You can nick the three-minute section from one of Kevin’s mash-ups if it makes things easier.) Is there any clip, no matter how silly, nonsensical, goofy or foul, that the score to Vertigo can’t ennoble? Let’s find out!
Although you can use any portion of “Scene D’Amour” as your soundtrack, the movie clip that you pair it with cannot have ANY edits; it must play straight through over the Herrmann music. This is an exercise in juxtaposition and timing. If you slice and dice the film clip to make things “work,” it’s cheating. MONTAGES WILL BE DISQUALIFIED.
Upload the result to YouTube, Vimeo, blipTV or wherever, email the link to [email protected] along with your name, and we’ll add your mash-up to this Index page.
There’s probably a reason that ‘Scene d’Amour’ has been used so often as a temp track (i.e. a piece of temporary music used before the composer settles on a final score), which is that it lends a haunting beauty to almost any image.
With that in mind here is the scene from Jaws set to Herrmann’s music:
The music accentuates the tragedy of a mother losing her son, whilst with Williams’ score there was a sense of impending dread and brilliantly orchestrated horror.
Note also how the scene in the original version is free of music until the shark appears.